Noah S. Lee
Thanks to a strict adherence to a procedure we’ve seen too many times in police-oriented stories, “Alex Cross” fails to stand on its own two feet.
As hysterical as it is deranged, “Seven Psychopaths” is not only one of the most outrageously entertaining comedies of 2012, but also proof that life has not lost its ability to produce clever humor in the most insane of scenarios.
Ben Affleck masters the art of sticking to the heart of the matter as he delves into the history behind “Argo,” demonstrating that films based on real-life events can be compelling if handled with the proper care and respect.
Although “Frankenweenie” lacks the depth and originality we have come to expect from Tim Burton’s moviemaking style, it still manages to be decent entertainment and a welcoming return to form for hardcore Burton fans.
Hampered by a lack of inspiration and incoherent excess, “Taken 2” fails to build on the cult following the original has developed.
The film “Looper” does something with time travel that no other science fiction film or book has ever done with the concept — it completely glosses over it.
PG-13 rating notwithstanding, the ample chilling twists and turns in this “House at the End of the Street” prove the film’s worth as an effective, if not out of the ordinary, genre keeper.
Keep your eyes peeled and watch your partner’s back at all times, because “End of Watch” renders all cinematic preconceptions about cops ineffective and pinpoints what it truly means to apprehend suspects in the name of the law.
Glistening with a relatable gravitation, a sincere emotionality, and an introspective psyche, “The Perks of Being a Wallflower” is guaranteed to reach out to anyone who has experienced the highs and lows of adolescent life.
The power of words takes an eloquent approach to-destruction in “The Words,” never holding back in conveying the pain of losing the one treasure you appreciate with all your heart and somebody stealing it by pressing a few well-chosen keys on the keyboard.